The Earth, A Small Man, His Dog and a Chicken (1990)



  1. Love is a Rock
  2. The Heart Survives
  3. Live it Up
  4. All Heaven Broke Lose
  5. Love in the Future
  6. Halfway
  7. Love to Hate
  8. You Won't See Me
  9. Can't Lie to My Heart
  10.L.I.A.R.
  11.Go for Broke


 

By the early nineties, REO Speedwagon found themselves once again shifting gears. After years of lineup stability through their classic period, the band was now navigating a personnel minefield. Drummer Alan Gratzer had retired, and guitarist Gary Richrath, long considered the instrumental anchor of the group, was shown the door. That left keyboardist Neal Doughty as the lone remaining original member. Enter guitarist Dave Amato and drummer Bryan Hitt. Also added—curiously—was keyboardist Jesse Harms, whose presence alongside Doughty begs the question: why two keyboardists?

All of this musical shuffling inevitably diverts attention from the music itself, which is, as you might guess, something of a mixed bag. The absence of Richrath’s signature guitar wail is noticeable, but more than that, this album simply doesn’t sound like the classic REO Speedwagon. There's no Doughty boogie-woogie, no standout Bruce Hall track, and though Cronin’s voice is unmistakable, much of this feels more like a solo project than a proper band effort.

The production values are notably slick—arguably too slick. The whole affair is so polished and layered with overdubs, harmonies, and keyboard textures that it starts to resemble the kind of glossy adult-contemporary rock that was fashionable in 1990. And to its credit, it doesn’t sound dated—just different. The songs are competently written, with Harms (who shares a number of writing credits) contributing a contemporary sheen, though whether this helps or hurts is up for debate.

The band is at its best when leaning into ballads, their safest terrain by this point. Tracks like The Heart Survives, Can’t Lie to My Heart, and Halfway hold up remarkably well and are arguably the strongest moments here. Elsewhere, however, too many tracks feel pleasant but forgettable—missing the bite or hooks to make them stand out. When they do try to rock out, as on L.I.A.R. and Go for Broke, only the latter registers with much impact.

Commercially, the album landed with a thud. A shame, as it deserved a bit better. But the times had changed, and audiences had moved on. These weren’t the carefree arena days of the early eighties anymore. Still, longtime fans may find a few things to admire here, even if the record overall struggles to justify its place in the band’s catalogue. As for the album title—The Earth, A Small Man, His Dog And A Chicken—let’s just say it didn’t help matters.



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